Fans of Quentin Tarantino's films have come to expect certain things from his films. Whether that expectation is excessive violence, long camera shots, a barefoot woman, clever dialogue, fake product placement, or just a slew of four-letter words, Tarantino rarely ever fails his audiences. To celebrate one of our favorite filmmakers, we take a look at 30 facts about his movies you may not know. Trust us, this is just the tip of the iceberg in this case though.
1. Quentin Tarantino wrote the part of Jules in Pulp Fiction specifically for Samuel L. Jackson after seeing him audition for Reservoir Dogs.
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Jackson had auditioned for the role of the man who trains Mr. Orange, but the part eventually went to Randy Brooks.
2. Inglourious Basterds star Eli Roth has claimed he was able to get into the mindset of the violent "Bear Jew" character because of the costumes.
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He's admitted that "wool underwear will make you want to kill anything" and also the music of Hannah Montana, which his girlfriend added to his iPod. It somehow filled him with the rage he needed to wield his baseball bat.
3. While filming Django Unchained, Leonardo DiCaprio had to stop filming at one point as he struggled using so many racial slurs.
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Samuel L. Jackson responded by pulling him aside and saying, "Motherf**ker, this is just another Tuesday for us."
4. Daryl Hannah's Kill Bill character, Elle Driver, has the code name "California Mountain Kingsnake." In fact, hers is the only Deadly Viper Assassination Squad code name that isn't a venomous snake.
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The name is fitting since she also isn't able to poison The Bride when she's in the hospital because Bill calls her before she can.
5. The iconic dance scene featuring Uma Thurman and John Travolta at Jack Rabbit Slim's is copied as an homage to Federico Fellini's 8½.
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6. According to Tarantino, German-born actor Til Schweiger (Sgt. Stiglitz) had always refused film roles that required him to don a Nazi uniform; he only agreed for Inglourious Basterds because he would be ["doin' one thing and one thing only,] killin' Nazis."
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7. At the very beginning of Kill Bill's O-Ren Ishii fight scene, Lucy Liu, in Japanese, says, "I hope you've saved your energy. If you haven't, you may not last 5 minutes."
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It is then exactly 4 minutes and 59 seconds until the fatal blow of the scene.
8. The cops who appear at the hospital in Death Proof after Stuntman Mike's first crash are played by real life father-son duo Michael Parks and James Parks.
Miramax Films
They're also the officers who respond to the wedding day massacre in Kill Bill. Michael Parks was first introduced as police officer Earl McGraw in the Tarantino-penned From Dusk Till Dawn; his son, James, was introduced as Deputy Edgar McGraw in From Dusk Till Dawn 2: Texas Blood Money. Neither of their characters survive in the From Dusk Till Dawn films.
9. The real name of the Mr. Blonde character from Reservoir Dogs, played by Michael Madsen, is Vic Vega. Vega is also the last name of John Travolta's character Vince in Pulp Fiction.
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Tarantino has stated that the characters are brothers whom he intended to make a prequel about. The film, Double V Vega, has been abandoned since both Madsen and Travolta aged too much to do a prequel.
10. The closing credits of Jackie Brown gives special thanks to "Bert D'Angelo's Daughter," which is a reference to Tarantino's then-girlfriend, Mira Sorvino.
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In the 1970s, Paul Sorvino starred in the detective TV show Bert D'Angelo, Superstar, which makes Mira "Bert D'Angelo's Daughter." Mira herself can be spotted, out of focus, in the back of the courtroom during Jackie's arraignment.
11. Jamie Foxx and Kerry Washington's characters in Django Unchained are intended to be descendants of John Shaft from the Shaft films, which would explain Washington's character's name: Broomhilda Von Schaft.
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12. In Pulp Fiction, Samuel L. Jackson's character, Jules, has a "Bad Mother F**ker" wallet that belongs to Tarantino in real life.
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The inscription is an earlier reference to Shaft and its theme song. Jackson would go on to star as Shaft in the 2000 remake.
13. Kill Bill was Quentin Tarantino's first feature-length film to have fewer than 100 instances of the word "f*ck."
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It pops up in the film a mere 17 times. Reservoir Dogs has 272, Pulp Fiction has 265 instances, and the later-released Death Proof boasts 148 in its extended cut.
14. We'll never find out why Inglourious Basterds is spelled the way it is.
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Tarantino has said, "Here's the thing. I'm never going to explain that. You do an artistic flourish like that, and to explain it would just take the piss out of it and invalidate the whole stroke in the first place."
15. The scene in Pulp Fiction when Vince plunges the adrenalin shot into Mia's chest was filmed by having John Travolta remove the needle, which was already in place, from Uma Thurman's chest and then running the film in reverse.
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If you watch very closely, you can see a mark disappear from Mia's chest.
16. Death Proof has a stronger relationship to Dave Dee Dozy Beaky Mick and Tich than you realized.
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In the first crash scene of Death Proof, the four girls discuss and listen to the music of Dave Dee Dozy Beaky Mick and Tich. Musician Eddie Cochran died in 1960 after being thrown through the windshield of his taxi. David Harman, a young police cadet overseeing the investigation surrounding the crash, ended up teaching himself guitar on Cochran's impounded Gretsch from the wreck. Harman would later be known by a different name: Dave Dee, of Dave Dee Dozy Beaky Mick and Tich.
17. Even though The Bride's name isn't revealed to audiences until Kill Bill Vol. 2, 'Beatrix Kiddo' is visible on her plane ticket to Okinawa in the first film.
Miramax Films
This is one of the movie's little Easter eggs, along with the sole of her shoe saying "F*CK U."
18. Reservoir Dogs star Kirk Baltz asked to ride in Michael Madsen's trunk to understand what the experience would really be like. Madsen agreed, but, while driving, he decided it was an ideal opportunity to get into character himself.
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He subsequently drove down a long alley plagued with potholes and through a Taco Bell drive-thru before returning to the lot and releasing his co-star. The soda his character is drinking in his first appearance in the warehouse is the same one he bought himself at the drive-thru.
19. That's really Leonardo DiCaprio's blood in Django Unchained!
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When Calvin Candie smashes his hand down on the dinner table in Django Unchained, actor Leonardo DiCaprio really broke a glass under his hand and began to bleed. He stayed in character, however, and continued with the scene, eventually smearing his blood all over Kerry Washington's face. When the scene ended, Leo received a standing ovation from everyone on set, and this was the take that ended up in the final cut.
20. In Inglourious Basterds, Shosanna Dreyfus' father, who was briefly seen hiding beneath the floorboards, was played by Swiss actor Patrick Elias.
Universal Pictures
Elias' father, Buddy, is a first cousin of Anne Frank.
21. Pam Grier had tested for the part of Jody in Pulp Fiction, but it eventually went to Rosanna Arquette. Tarantino never forgot her though, and he eventually crafted the role of Jackie Brown specifically for her.
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In fact, the titular character was initially a white woman named Jackie Burke.
22. Every character killed onscreen, with the exception of the anime scene, in the Kill Bill movies met their fate at the hands of a woman.
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Elle killed Budd and Pai Mei; O-Ren Ishii killed Boss Tanaka; Gogo killed that Tokyo businessman; The Bride, of course, killed Vernita Green, Buck, Gogo, the Crazy 88s, O-Ren Ishii, and, yes, Bill.
23. Even though she liked the movie, Madonna sent Tarantino a copy of her Erotica album with a note that read, "To Quentin, it's not about dick. It's about love. Madonna."
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The note is a reference to the opening conversation of Reservoir Dogs where the characters discuss the meaning of "Like A Virgin."
24. Tarantino came up with the idea for Death Proof afer buying a Volvo because he "didn't want to die in some auto accident like the one in Pulp Fiction."
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His friend joked in response to Quentin's preference for the safe vehicle by saying, "you could take any car and give it to a stunt team, and for $10,000 or $15,000, they can death-proof it for you," and the phrase stuck with Tarantino ever since.
25. Initially, Tarantino couldn't decide which character he wanted to play in Pulp Fiction.
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He was between Jimmie and Lance, but opted for Jimmie once he realized he wanted to be behind the camera during Mia's overdose.
26. Chiaki Kuriyama, the actress who plays Gogo in Kill Bill, accidentally hit Quentin Tarantino in the head with her meteor hammer while he was filming that scene.
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27. Jules' iconic Bible passage was mostly made up by Quentin Tarantino and Samuel L. Jackson.
"And I will strike down upon thee with great vengeance and furious anger. And you will know My name is the Lord when I lay My vengeance upon thee" is the only part that's even similar to what's in the scriptures. The righteous man and the shepherd? Not real.
28. At the end of Inglourious Basterds, Brad Pitt's character pretends to be an Italian actor named "Enzo Girolami," which sounds a little familiar...
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Enzo Girolami is the birth name of the director of the 1978 film, The Inglorious Bastards (Enzo G. Castellari).
29. As part of John Travolta's "research" into heroin addiction for the role of Vincent Vega, he (and his wife, happy to help) lined tequila shots along the edge of his hotel hot tub and drank them all while soaking in the hot water.
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Tarantino had referred Travolta to a recovering addict, who gave this piece of advice: "If you want to get the 'bottom envelope' feeling of that, get plastered on Tequila, and lie down in a hot pool. Then you will have barely touched the feeling of what it might be like to be on heroin."
30. Uma Thurman initially rejected the role of Mia Wallace.
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In order to get her to sign on to Pulp Fiction, a desperate Tarantino read her the script over the phone and convinced her. It was during the filming of the 1994 classic that the pair began to develop the concept of Kill Bill. Uma was given the script, along with the offer for the role of "The Bride," as a 30th birthday present from Tarantino.
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Many of 2012’s later pieces of cinematic output had us writhing in anticipation throughout the year, desperate to see these promised gems come to fruition on the big screen. One such provider of chronic enthusiasm has been Django Unchained, which finally hit theaters on Christmas Day. As 2012 rose and settled, fans mustered countless reasons to foster excitement for the film — one being the cast. After all, Django was boasting some of our favorite stars in the business: Will Smith, Kevin Costner, Kurt Russell, Joseph Gordon-Levitt, Anthony La Paglia, Sacha Baron Cohen…
Oh. Wait. No. None of those people are actually in the movie. But they almost were.
Those adhered to the entertainment news circuit might have heard tell that the above actors might be taking roles in Quentin Tarantino’s Western. The director named Smith as an early choice for his title character, and met with the blockbuster actor to discuss the prospect of the stardom. Several of the other names in question breached production before conflicts — or, quite possibly, the nature of the material — severed their relationship with the pre-Civil War movie.
Both Costner and Russell were attached to the villainous character of Ace, who was ultimately embodied by the capable James Remar. Gordon-Levitt and LaPaglia were slated to play two of the Australians who aim to transport Django to the coalmines towards the end of the film (one of these roles was usurped by filmmaker Tarantino). Cohen’s intended role was never revealed.
It is commonplace for any movie to shift through a few different layers of performers before cementing a starring team, but Django is an exceptionally explosive case. Still, thinking back on past Tarantino efforts will afford a few recollections of “almost-castings,” and some wistful wonderings of what might have been…
Pulp Fiction
Jules
“My name’s Paul, and this doesn’t concern me at all.” If you’re a Pulp Fiction aficionado (a Pulp Fictionado, if you will), then you recognize that line immediately — it is delivered by actor Paul Calderon, who plays a bartender and employee to crime boss Marsellus Wallace. But while Calderon’s role doesn’t extend beyond a few rhythmic one-liners, the actor was nearly handed a much larger role: that of Jules Winnfield (Samuel L. Jackson’s character), due to how impressed Tarantino was with his onscreen skill.
Vince
Tarantino's critically acclaimed and publicly beloved 1994 picture almost is notable for relaunching the career of a then-declining John Travolta. But Travolta's role of Vincent Vega, the dimwitted heroin addict who works alongside Jules, almost went to Reservoir Dogs star Michael Madsen. Interestingly, Madsen's character in Taratino's directorial debut is named Vic Vega, and is considered, canonically, to be Vince's brother.
Kill Bill
Bill
Again, we return to the hesitant party of Kevin Costner. Rumors had Tarantino approaching the actor with the opportunity to play the titular character in the filmmaker's Kill Bill movies (whom we don't actually lay eyes upon until the second film in the two-part story). But when Costner refused what would turn out to be the first of two Tarantino offers, fans found themselves facing a Bill in martial arts movie veteran David Carradine. And to no disappointment: Carradine gave the often understated character an unforgettable, chilling, and often heartbreaking performance.
Inglourious Basterds
Hans Landa
Here's one you've probably heard about. While we'd have a hard time imagining anyone but Christoph Waltz in his career-making, Oscar-winning role of sociopathically pragmatic Nazi detective Col. Hans Landa, Tarantino's first choice for the part was actually Leonardo DiCaprio. Conflicting rumors have obscured the truth behind the dismissal of DiCaprio from the part; some sources claim that Tarantino felt more comfortable with a German actor, while some say that DiCaprio was ill at ease with the nature of Inglourious Basterds' material.
The Bear Jew
Easily the funniest and most surprising bit of the bunch is the rumor that attached Inglourious Basterds' wrathful Staff Sgt. Donny Donowitz (known in legend to be a Golem, and referred to by Nazis and Nazi-hunters alike as the Bear Jew) to actor Adam Sandler. Tarantino reportedly approached the blockbuster comedian to take the role prior to landing on friend and filmmaker Eli Roth, but Sandler's conflicting Funny People schedule forced him to turn down the fan favorite character. For those who believe this to be just as well, certain that Sandler would only drive down the gravity of Tarantino's movie, let them recall that this sort of attitude might have preceded the casting of Travolta in Pulp Fiction, Pam Greer in Jackie Brown, and 90 percent of the Django Unchained cast. Still, Roth's contribution was exemplary.
So now when you head to the theaters to check out Django Unchained, or revisit old Tarantino pictures at home, imagine just how different the movies would be with Costners, Madsens, Gordon-Levitts, and Sandlers in place.
[Photo Credit: Miramax, Universal Pictures]
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While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]

A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.

Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
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When you start out on a really popular television show, it's great. You have regular work, people start to know your name, you get recognized as your character everywhere you go. But what about when the show ends? Then what happens?
Those stars are remembered as their former characters for almost the rest of their lives. Hell, even Neil Patrick Harris, who's grown his stardom and made a name as a completely new character on How I Met Your Mother, still has to endure being referred to as Doogie Howser. Jenny Garth will always be Kelly Taylor. Alfonso Ribeiro will always be known as Carlton and he'll probably always have to deal with people teasing him about that fantastic Tom Jones dance. But how do you continue a career after you've charmed the masses as a single character for so long? Well, for some folks, hopping right back into television is the answer, and if the slate of new shows from the major networks and a few of the cable ones is any indication, that's the name of the game for the summer and fall television seasons.
It's a great time to be a comeback kid, so we've put together a list of our top ten not-so-new television faces that you'll soon find on the boob tube. Is it just us, or are a lot of these comebacks just grown-up versions of these actors' original roles?
10. Eddie Cibrian
Known for: Third Watch, CSI: Miami, CHEATING ON HIS WIFE WITH LEANN RIMES.
Characteristics: CHEATED ON HIS WIFE.
New role: Playboy Club key-holder, and Don-Draper-wannabe Nick Dalton (NBC's The Playboy Club).
New Characteristics: Nick's not married, but come on, he's a Don Draper-esque character in a club full of scantily-clad women. He would totally CHEAT ON HIS WIFE -- if he had one.
9. Wilmer Valderrama
Known for: Playing Fez on That 70's Show, dating Lindsay Lohan for three seconds.
Characteristics: Fez was generally desperate and pervy, his real-life relationship with LiLo didn't help dispel the theory that he wasn't acting
New role: Detective Efram Vega (NBC's Awake).
New Characteristics: Details are few and far between at the moment, but it's a drama that looks pretty fantastic. We're guessing there's little room for Fezzian shenanigans -- though there is room for the signature Fez look of confusion -- so we might see some serious acting from the former campy comedy star. I still hope he sneaks in one "Goodday."
8. Katharine McPhee
Known for: Losing to Taylor Hicks on Season 5 of American Idol.
Characteristics: Aesthetically pleasing, decent singing voice, accused of making it to top two for her looks.
New role: The underdog, a Broadway actress who miraculously scores the lead in a musical about Marilyn Monroe (NBC's Smash)
New Characteristics: Aesthetically pleasing, decent singing voice, is propositioned by the director because of her looks.
7. Laura Prepon
Known for: Playing (Hot) Donna on That 70's Show.
Characteristics: Spunky redhead, tomboy, outspoken, understated babe.
New role: Reincarnation of Chelsea Handler...also named Chelsea (NBC's Are You There, Vodka?)
New Characteristics: Spunky blonde, semi-tomboy, outspoken, understated babe, alcoholic.
6. Rachel Bilson
Known for: Playing Summer on The OC.
Characteristics: Bratty, spoiled, prissy, headstrong, obsessed with her long-term, super-nerdy boyfriend, but somehow ultimately lovable.
New role: Zoe Hart, headstrong, big-city doctor plopped into a small town (CW's Hart of Dixie).
New Characteristics: A little spoiled from big-city living, headstrong, lovably outspoken with a hint of bratty, surrounded by cute men.
5. Debra Messing
Known for: Playing Grace on Will and Grace.
Characteristics: Talented, artistic, perpetually single middle-aged New York woman surrounded by talented, successful gay men and Karen.
New role: Julia, a lyricist writing a Marilyn Monroe musical (NBC's Smash).
New Characteristics: Talented, artistic, middle-aged New York woman working with her talented, successful, gay song-writing partner, Tom.
4. Tim Allen
Known for: Playing Tim "The Toolman" Taylor on Home Improvement (and of course playing Buzz Lightyear in the Toy Story movies, but we're not focusing on that on that right now).
Characteristics: Grunts often, doesn't understand women, doesn't actually know how to use the tools he hosts a show about, has a wife and kids who love him anyway.
New role: A marketing director for big ol' sporting good store (ABC's Last Man Standing).
New Characteristics: Complains often, doesn't understand women, actually knows a thing or two about sporting goods (maybe a little too much), has a wife and kids who love him anyway.
3. Sarah Michelle Gellar
Known for: Kicking vampire ass as Buffy on...Buffy.
Characteristics: Dark, brooding sexpot with a killer instinct, a troubled past, and lots of trouble in her future.
New role: One of two twins who steals her deceased sister's life in order to escape her own demons (CW's Ringer).
New Characteristics: Dark, brooding sexpot with a killer instinct, a troubled past, and lots of trouble in her future (minus the vampires, ghosts, hellmouths and actual demons).
2. Mark-Paul Gosselaar
Known for: Stealing teen hearts as Zack Morris on Saved By The Bell, and continuing to be known as Zack Morris because his name is so hard to remember.
Characteristics: Charming, cocky, girl-crazy, very proud of his stupidly large cell phone.
New role: One half of a lawyer duo who refuses to play by "the rules" (TNT's Franklin and Bash).
New Characteristics: Charming, cocky, girl-crazy, thankfully has a very normal-sized cell phone.
1. James Van Der Beek
Known for: Crying incessantly on Dawson's Creek, abnormally large forehead, having little ability to translate Dawson fame to future career.
Characteristics: Whiny, sad, artistic (but overly confident about it), whiny, sad, whiny, SAD.
New role: A hyper-stylized, dickish version of himself (ABC's Apartment 23) .
New characteristics: Snarky, funny, not completely deplorable and not the reason I'll stop watching after Pacey and Joey break up.

The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.

The Toronto International Film Festival has an impressive slate of films lined up for its 35th anniversary. The Canadian film festival will host 25 World Premieres, 15 Gala Premiers and 35 Special Presentations films from a multitude of acclaimed and upcoming directors. The most anticipated films to debut at the festival include Darren Aronofsky’s followup to The Wrestler, the stately-looking Black Swan, and Mark Romanek’s adaptation of bestseller Never Let Me Go, starring new Spider-Man Andrew Garfield. Robert Redford’s Lincoln assassination drama The Conspirator and John Cameron Mitchell’s tearjerker Rabbit Hole, and Alejandro González Iñárritu’s perplexing Biutiful are also generating some interest and buzz. Less promising features include Stone, a thriller so generic that Ed Norton's cornrows look like the most interesting thing about it, and Trust, David Schwimmer's melodramatic internet predator panic piece. But don't quote us on that, film festivals are always full of unexpected surprises, and you can never be sure what's going to become a hit.
The Toronto Film Festival will take place from September 9-19th. For a full summary of the films appearing in the festival, check out the official list below.
Galas
The Bang Bang Club. Steven Silver, Canada/South Africa World Premiere The Bang Bang Club was the name given to four young photographers, Greg Marinovich, Kevin Carter, Ken Oosterbroek and Joao Silva, whose photographs captured the final bloody days of white rule in South Africa and the final demise of apartheid. The film tells the remarkable and sometimes harrowing story of these young men – and the extraordinary extremes they went to in order to capture their pictures. The film stars Ryan Phillippe, Malin Akerman, Taylor Kitsch, Neels Van Jaarsveld and Frank Rautenbach.
Barney's Version Richard J. Lewis, Canada/Italy North American Premiere From producer Robert Lantos, Barney’s Version is a film based on Mordecai Richler's prize-winning comic novel. Barney Panofsky (Paul Giamatti) is a seemingly ordinary man who lives an extraordinary life. Barney?s candid confessional spans four decades and two continents, and includes three wives (Rosamund Pike, Minnie Driver and Rachelle Lefevre), one outrageous father (Dustin Hoffman) and a charmingly dissolute best friend (Scott Speedman).
Black Swan Darren Aronofsky, USA North American Premiere A psychological thriller set in the world of New York City ballet, Black Swan stars Natalie Portman as Nina, a featured dancer who finds herself locked in a web of competitive intrigue with a new rival at the company. Black Swan takes a thrilling and at times terrifying journey through the psyche of a young ballerina whose starring role as the duplicitous swan queen turns out to be a part for which she becomes frighteningly perfect. Black Swan also stars Vincent Cassel, Mila Kunis, Barbara Hershey and Winona Ryder.
Casino Jack George Hickenlooper, Canada World Premiere Based on a true story, Kevin Spacey stars as Jack Abramoff, the former high-powered lobbyist whose bribery schemes and fraudulent dealings with Indian casinos ultimately landed him in prison, and stunned the world. It remains the biggest scandal to hit Washington, D.C. since Watergate. The film also stars Barry Pepper, Kelly Preston, Rachelle Lefevre and Jon Lovitz.
The Conspirator Robert Redford, USA World Premiere While an angry nation seeks vengeance, a young union war hero must defend a mother accused of aiding her son in the assassination of President Abraham Lincoln. Directed by Robert Redford, the film stars James McAvoy, Robin Wright, Kevin Kline, Evan Rachel Wood and Tom Wilkinson.
The Debt John Madden, USA North American Premiere Helen Mirren, Jessica Chastain and Sam Worthington star in this thriller about three Israeli Mossad agents on a 1965 mission to capture a notorious Nazi war criminal. Thirty years later, secrets about the case emerge.
The Housemaid Im Sang-Soo, South Korea North American Premiere In this erotic thriller, the housemaid of an upper-class family becomes entangled in a dangerous tryst. A satirical look at class structure, reminiscent of the work of Claude Chabrol, this sexy soap opera is a story of revenge and retribution.
Janie Jones David M. Rosenthal, USA World Premiere Aspiring recording artist Ethan Brand gets a stunning surprise on the opening night of a tour – a strung out former groupie appears unexpectedly, pleading with him to care for their daughter while she pulls herself together. Enter Janie Jones.
The King's Speech Tom Hooper, United Kingdom/Australia North American Premiere The King's Speech tells the story of the man who would become King George VI, the father of the current Queen, Elizabeth II. After his brother abdicates, George „Bertie? VI (Colin Firth) reluctantly assumes the throne. Plagued by a dreaded nervous stammer and considered unfit to be King, Bertie engages the help of an unorthodox speech therapist named Lionel Logue (Geoffrey Rush). Through a set of unexpected techniques, and as a result of an unlikely friendship, Bertie is able to find his voice and boldly lead the country into war.
Little White Lies Guillaume Canet, France World Premiere Despite a traumatic event, a group of friends decides to go ahead with their annual beach vacation. Their relationships, convictions, sense of guilt and friendship are sorely tested. They are finally forced to own up to the little white lies they have been telling each other. Directed by Guillaume Canet and starring: François Cluzet, Marion Cotillard, Benoît Magimel, Gilles Lellouche, Jean Dujardin, Laurent Lafitte, Valérie Bonneton and Pascale Arbillot.
Peep World Barry Blaustein, USA World Premiere On the day of their father?s 70th birthday party, four siblings come to terms with the publication of a novel written by the youngest sibling that exposes the family?s most intimate secrets. The project's available for distribution, and stars Michael C. Hall, Sarah Silverman, Rainn Wilson, Ben Schwartz, Judy Greer, Kate Mara, Taraji Henson and Ron Rifkin.
Potiche François Ozon, France North American Premiere A bourgeois housewife (Catherine Deneuve) takes on a rough union leader (Gerard Depardieu) in François Ozon's sparkling comic war between the sexes, and the classes.
The Town Ben Affleck, USA North American Premiere The Town is a dramatic thriller about robbers and cops, friendship and betrayal, love and hope, and escaping a past that has no future. In the Boston neighbourhood of Charlestown, Doug MacCray is the leader of a crew of ruthless bank robbers. But everything changed on the gang?s last job when they took bank manager Claire Keesey hostage. Questioning what she saw, Doug seeks out Claire. As their relationship deepens, Doug wants out of this life and the town, but now he must choose whether to betray his friends or lose the woman he loves.
The Way Emilio Estevez, USA World Premiere Martin Sheen plays Tom, an American doctor who comes to St. Jean Pied de Port, France to collect the remains of his adult son, killed in the Pyrenees in a storm while walking The Camino de Santiago. Driven by his profound sadness and desire to understand his son better, Tom decides to embark on the historical pilgrimage. Along the way he learns what it means to be a citizen of the world again and discovers the difference between “The life we live and the life we choose.”
West is West Andy De Emmony, United Kingdom World Premiere Manchester, Northern England, 1976. The now much-diminished, but still claustrophobic and dysfunctional, Khan family continues to struggle for survival. Sajid, the youngest Khan, is under heavy assault both from his father's tyrannical insistence on Pakistani tradition, and from the fierce bullies in the schoolyard. His father decides to pack him off to Mrs. Khan No 1 and family in the Punjab, the wife and daughters he had abandoned 30 years earlier. The sequel to East is East, West is West is the coming of age story of both 15-year-old Sajid and of his father, 60-year-old George Khan.
Special Presentations
Another Year Mike Leigh, United Kingdom North American Premiere A happily married, middle-aged couple are visited by a number of unhappy and lonely friends who use them as confidantes. When an unmarried friend falls for their young son, they watch as events unfold. The film stars Jim Broadbent, Lesley Manville, Ruth Sheen, Peter Wight, Oliver Maltman, David Bradley, Karina Fernandez and Martin Savage.
Beginners Mike Mills, USA World Premiere When his 71-year-old father (Christopher Plummer) comes out of the closet, Oliver (Ewan McGregor) must explore the honesty of his own relationships. From the director of Thumbsucker.
The Big Picture Eric Lartigau, France World Premiere Paul Exben is a success story. He has a great job, a glamorous wife and two wonderful sons, except that this is not the life he has been dreaming of. A moment of madness is going to change his life, forcing him to assume a new identity that will enable him to live his life fully. The Big Picture, an adaptation of the novel by Douglas Kennedy, is directed by Eric Lartigau and stars Romain Duris, Marina Foïs, Niels Arestrup and Catherine Deneuve. It is produced by Pierre-Ange Le Pogam.
Biutiful Alejandro González Iñárritu, Spain/Mexico North American Premiere This is a story of a man in free fall. On the road to redemption, darkness lights his way. Connected with the afterlife, Uxbal is a tragic hero and father of two who's sensing the danger of death. He struggles with a tainted reality and a fate that works against him in order to forgive, for love, and forever. The film stars Javier Bardem.
Blue Valentine Derek Cianfrance, USA Canadian Premiere Blue Valentine is the story of love found and love lost, told in past and present moments in time. Flooded with romantic memories of their courtship, Dean and Cindy use one night to try and save their failing marriage. Ryan Gosling and Michelle Williams star in this honest portrait of a relationship on the rocks.
Brighton Rock Rowan Joffe, United Kingdom World Premiere Based on Graham Greene's 1938 novel, we follow the odd relationship between a young thug on the rise in the British underground and a tea room waitress who witnesses a crime he has committed.
Buried Rodrigo Cortés, Spain/USA Canadian Premiere When Paul Conroy (Ryan Reynolds) wakes up six feet underground with no idea who put him there or why, life for the truck driver and family man instantly becomes a hellish struggle for survival. Buried with only a cell phone and a lighter, poor reception, a rapidly draining battery and a dwindling oxygen supply become his worst enemies in a tightly confined race against time.
Conviction Tony Goldwyn, USA World Premiere Conviction is the inspirational true story of a sister?s unwavering devotion to her brother. When Betty Anne Waters? (two-time Academy® Award winner Hilary Swank) older brother Kenny (Sam Rockwell) is arrested for murder and sentenced to life in 1983, Betty Anne, a Massachusetts wife and mother of two, dedicates her life to overturning the murder conviction.
Cirkus Columbia Danis Tanovic, Bosnia and Herzegovina International Premiere After twenty years of exile, a husband returns to his hometown in Herzegovina to settle some scores with his ex-wife, armed with a new Mercedes, a sexy new girlfriend and a mangy black cat.
Dhobi Ghat Kiran Rao, India World Premiere In the teeming metropolis of Mumbai, four people separated by class and language are drawn together in compelling relationships. Shai, an affluent investment banker on a sabbatical, strikes up an unusual friendship with Munna, a young and beautiful laundry boy with ambitions of being a Bollywood actor, and has a brief dalliance with Arun, a gifted painter. As they slip away from familiar moorings and drift closer together, the city finds its way into the crevices of their inner worlds.
Easy A Will Gluck, USA World Premiere After a little white lie about losing her virginity gets out, a clean-cut high school girl (Emma Stone) sees her life paralleling Hester Prynne?s in The Scarlet Letter, which she is currently studying in school – until she decides to use the rumour mill to advance her social and financial standing.
Henry's Crime Malcolm Venville, USA World Premiere After serving three years in prison for a bank robbery he did not commit, an amiable but aimless man decides to rob the bank for real. His plan involves infiltrating a local theatre company, but his scheme gets complicated when he falls for the company?s lead actress. The film stars Keanu Reeves, Vera Farmiga, James Caan, Fisher Stevens, Peter Stormare, Danny Hoch and Bill Duke.
The Illusionist Sylvain Chomet, United Kingdom North American Premiere From the director of The Triplets Of Belleville comes a film of grace and unique beauty. Working from a never-produced script written by Jacques Tati for his daughter, Chomet tells the story of a magician who was pushed aside by rock and roll, yet finds one young girl who appreciates his magic. The film stars Jean-Claude Donda and Eilidh Rankin.
In A Better World Susanne Bier, Denmark/Sweden International Premiere The story traces elements from a refugee camp in Africa to the grey humdrum of everyday life in a Danish provincial town. The lives of two Danish families cross each other, and an extraordinary but risky friendship comes into bud. But loneliness, frailty and sorrow lie in wait. Soon, friendship transforms into a dangerous alliance and a breathtaking pursuit in which life is at stake.
I Saw the Devil Kim Jee-woon, South Korea North American Premiere A hard-boiled thriller from Korean master Kim Jee-woon, I Saw the Devil is a tale of bloody vengeance against a dangerous psychopath who has committed a gruesome series of murders.
It's Kind of a Funny Story Ryan Fleck, Anna Boden, USA World Premiere Stressed-out teenager Craig checks himself into a mental health clinic – where he finds himself in the adult ward. Sustained by friendships on both the inside and the outside, Craig learns more about life, love and the pressures of growing up. The comedy-drama stars Keir Gilchrist, Emma Roberts and Zach Galifianakis.
Jack Goes Boating Philip Seymour Hoffman, USA International Premiere Adapted from Bob Glaudini's acclaimed Off Broadway play, Jack Goes Boating is a tale of love, betrayal, friendship and grace centered around two working-class New York City couples. The film stars John Ortiz, Daphne Rubin-Vega, Amy Ryan and Philip Seymour Hoffman, with Hoffman making his feature directorial debut.
L'Amour Fou Pierre Thoretton, France World Premiere Yves Saint Laurent built one of fashion's most celebrated empires. This moving documentary chronicles his rise, his lifelong partnership with Pierre Bergé and their decision to auction off a lifetime of precious art and objects.
The Legend of the Fist: The Return of Chen Zhen Andrew Lau, Hong Kong North American Premiere In 1920s Shanghai, hero Chen Zhen single-handedly avenges his mentor?s death by killing all the Japanese at a dojo in Hongkou, only to be showered with bullets while making his legendary flying kick. Now, years later, Chen Zhen, who is believed dead, returns in disguise to infiltrate a criminal empire and to dismantle the evil collusion that plagues the country.
Lope Andrucha Waddington, Brazil/Spain World Premiere Andrucha Waddington brings famed Spanish playwright Lope de Vega?s passionate life to the screen. The young poet returns to Madrid from war and gets his foot in the door of Madrid's most important theatre troupe – quickly charming his boss's daughter. His childhood friend, Isabel de Urbina, also falls under the spell of his poems. So much seduction eventually brings misfortune and he must flee Madrid.
Love Crime Alain Corneau, France International Premiere Dangerous Liaisons meets Working Girl in this deliciously caustic tale of office politics. Starring Kristin Scott Thomas and Ludivine Sagnier as mentor and ingénue, Love Crime is a remorseless clash of two competing egos.
Made in Dagenham Nigel Cole, United Kingdom World Premiere Sally Hawkins stars as Rita O?Grady, the catalyst for the 1968 Ford Dagenham strike by 187 sewing machinists which led to the advent of the Equal Party Act. Working in extremely impoverished conditions for long, arduous hours, the women at the Ford Dagenham plant finally lose their patience when they are reclassified as “unskilled.” With humour, common sense and courage, they take on their corporate paymasters, an increasingly belligerent local community, and finally the government itself. The film also stars Bob Hoskins, Miranda Richardson, Geraldine James and Rosamund Pike.
Miral Julian Schnabel, United Kingdom/Israel/France North American Premiere From the director of The Diving Bell and the Butterfly, Before Night Falls and Basquiat, comes Miral, the visceral, first-person diary of a young girl growing up in East Jerusalem as she confronts the effects of occupation and war in every corner of her life. Schnabel pieces together momentary fragments of Miral's world – how she was formed, who influenced her, all that she experiences in her tumultuous early years – to create a raw, moving, poetic portrait of a woman whose small, personal story is inextricably woven into the bigger history unfolding all around her.
Never Let Me Go Mark Romanek, United Kingdom World Premiere Kathy (Carey Mulligan), Tommy (Andrew Garfield) and Ruth (Keira Knightley) spent their childhood at a seemingly idyllic boarding school. When they leave the shelter of the school, the terrible truth of their fate is revealed and they must confront the deep feelings of love, jealousy and betrayal that threaten to pull them apart.
Norwegian Wood Tran Anh Hung, Japan North American Premiere Adapted from Haruki Murakami's bestselling novel. Watanabe, a quiet and serious college student, becomes deeply devoted to Naoko, a beautiful and introspective young woman with whom he shares the tragedy of their best friend?s death. When Naoko suddenly disappears, Midori, an outgoing, vivacious and supremely self-confident girl marches into Watanabe's life. The film stars Kenichi Matsuyama, Rinko Kikuchi and Kiko Mizuhara.
Outside the Law Rachid Bouchareb, France/Algeria/Tunisia/Italy/Belgium North American Premiere Bouchareb's follow-up to Days of Glory is an epic French gangster movie in the tradition of Once Upon a Time in America. The film follows three brothers from childhood in Algeria through turbulent years in Paris, as their paths diverge towards radical politics and violent crime.
Rabbit Hole John Cameron Mitchell, USA World Premiere A family navigates the deepest form of loss in John Cameron Mitchell's screen adaptation of the Pulitzer Prize winning play by David Lindsay-Abaire. Nicole Kidman and Aaron Eckhart deliver captivating performances as a husband and wife who fight to save their marriage in the life that begins again after tragedy.
A Screaming Man Mahamat-Saleh Haroun, France/Belgium/Chad North American Premiere One of Africa's preeminent film artists, Haroun returns to themes of family and loyalty in war-torn Chad. A father and son work together at the pool of five-star hotel, but the civil war forces life-and-death choices upon them.
Stone John Curran, USA World Premiere. Robert De Niro and Edward Norton deliver powerful performances as a seasoned corrections official and a scheming inmate whose lives become dangerously intertwined. Stone weaves together the parallel journeys of two men grappling with dark impulses, as the line between lawman and lawbreaker becomes precariously thin. The film also stars Milla Jovovich and Frances Conroy.
Submarine Richard Ayoade, United Kingdom World Premiere British comic Richard Ayoade delivers his hotly-anticipated feature debut Submarine. One boy must fight to save his mother from the advances of a mystic, and simultaneously lure his eczema-strafed girlfriend in to the bedroom, armed with only a vast vocabulary and near-total self-belief. His name is Oliver Tate.
That Girl in Yellow Boots Anurag Kashyap, India North American Premiere Ruth is searching for her father – a man she hardly knew but cannot forget. Desperation drives her to work without a permit, at a massage parlour, where she gives "happy endings? to unfulfilled men. Torn between several schisms, Mumbai becomes the backdrop for Ruth's quest as she struggles to find her independence and space even as she is sucked deeper into the labyrinthine politics of the city's underbelly.
Tamara Drewe Stephen Frears, United Kingdom North American Premiere Based on Posy Simmonds? beloved graphic novel. When Tamara Drewe returns to the village of her youth, life for the locals is thrown upside down. Tamara – once an ugly duckling – has been transformed and is now a minor celebrity. As infatuations, jealousies, love affairs and career ambitions collide among the inhabitants of the neighbouring farmsteads, Tamara sets a contemporary comedy of manners into play.
The Trip Michael Winterbottom, United Kingdom World Premiere Follow two good friends in this hilarious road movie as they embark on a tour of the Lake District and the Yorkshire Dales of Northern England, eating, chatting and driving each other crazy. The film stars Steve Coogan and Rob Brydon.
Trust David Schwimmer, USA World Premiere Safe and sound in their suburban home, Will and Lynn Cameron (Clive Owen and Catherine Keener) used to sleep well at night. When their 14-year-old daughter, Annie, made a new friend on-line – a 16-year-old boy named Charlie – Will and Lynn didn?t think much of it. But when Annie and Charlie make a plan to meet what happens in the next twenty-four hours changes the entire family forever. Charlie is really a 40-year-old serial pedophile (Tom McCarthy) and, once Annie?s rape comes to light, it becomes a touchstone event that reverberates through the entire family.
You Will Meet a Tall Dark Stranger Woody Allen, United Kingdom/USA/Spain North American Premiere Woody Allen's latest comic ensemble piece follows a group of Londoners struggling with failing marriages, restless libidos, the perils of aging and desires that drive a series of decisions with unforeseen consequences. The film stars Antonio Banderas, Josh Brolin, Anthony Hopkins, Gemma Jones, Lucy Punch and Naomi Watts.
Source: IndieWire

WHAT IT’S ABOUT?
Claire is an attractive CIA operative and Ray is an M16 agent who simultaneously leave their Governmental spy activities in the dust to try and profit from a battle between two rival multi-national corporations both trying to launch a new product that will transform the world and make billions. Their goal is to secure the top-secret formula and get a patent before they are outsmarted. While their respective egomaniacal CEOs engage in an unending battle of wills and one-upmanship Claire and Ray start out conning and playing one another in a clever game of industrial espionage that is even more complicated due to their own long-term romantic relationship.
WHO’S IN IT?
Reuniting Closer co-stars Julia Roberts (as Claire) and Clive Owen (as Ray) turns out to be an inspired idea. They turn out to be the perfect pair oozing movie-star charm and electricity in this elaborate con-game that might have been the kind of thing Audrey Hepburn and Cary Grant might have made in the '60s (in fact they did in Charade). Roberts with that infamous hairstyle back the way we like it and Owen looking great in sunglasses prove they have what it takes to navigate us through this ultra-complex plot in which no one is sure who they can trust at any given moment. They play it all in high style and the wit just flows as the story skirts back and forth during the period of five years. The supporting cast is well-chosen with juicy roles for Tom Wilkinson and Paul Giamatti (out of their John Adams duds) as the two CEOs going for each other’s throats. Giamatti who sometimes has a tendency to overdo it is especially slimy here and great fun to watch.
WHAT’S GOOD?
Big-star studio movies today rarely take risks and often talk down to the audience but in Duplicity writer/director Tony Gilroy (Michael Clayton) has crafted a complicated con-comedy that requires complete attention at all times just to keep up with the dense plot’s twists and turns. It’s the cinematic equivalent of a New York Times crossword puzzle and Gilroy and his top-drawer production team deliver a glossy beautiful-looking film that’s easy on the eyes hitting locations from Dubai to Rome to New York City.
WHAT’S BAD?
Like any good puzzle it sometimes can be frustrating putting it all together and Gilroy’s habit of taking us back in time and then inching forward gets a little confusing even with the on-screen chyron pointing out where we are at any given moment. Stick with it though and you will be well-rewarded.
FAVORITE SCENE:
A scene near the end where the formula must be found scanned and faxed in a matter of minutes is sweat-inducing edge-of-your-seat moviemaking and it provides the ultimate opportunity for Roberts and Owen to take the “con” to the next level. Another where Roberts uses a thong to try and trick Owen into admitting an affair he never had is also priceless and gets right to the heart of the game-playing.
GO OUT AND GET POPCORN WHEN ...
Never. Stock up during the coming attractions. If you miss a moment of this entertaining romp you might never figure it all out.